86-B19272 
ND813.M9  M56  1900 
Minor,  Ellen  E. 
Murillo. 


THE  J.  PAUL  GETTY  MUSEUM  LIBRARY 


MASTERS  IN  ART 

■;A  SERIES  OF  .ILLUSTRATED 
MONOGRAPHS:  ISSUED  MONTHLY 


vt 


PART  10 


OCTOBER,  1900 


VOLUME  I 


I 0 


CONTENTS 


Plate  I.  “The  Holy  Family” 

Plate  II.  “Virgin  and  Child”  [Detail] 

Plate  III.  “The  Birth  of  the  Virgin  ” 

Plate  IV.  “The  Divine  Shepherd” 

Plate  V.  “St.  Anthony  of  Padua  and  the  Christ-Child” 

Plate  VI.  “St.  Elizabeth  of  Hungary  Healing  the  Sick” 

Royal  Academy  of  Fine  Arts:  Madrid 
Plate  VII.  “The  Melon-Eaters  ” Munich  Gallery 


Louvre:  Paris 
PiTTi  Palace:  Florence 
Louvre:  Paris 
The  Prado:  Madrid 
Berlin  Gallery 


Plate  VIII.  “The  Children  of  the  Shell” 

Plate  IX.  “ The  Immaculate  Conception  ” 

Plate  X.  “The  Vision  of  St,  Anthony  of  Padua' 


The  Prado:  Madrid 
Louvre:  Paris 
Seville  Cathedral 


Portrait  of  Murillo:  Earl  Spencer’s  Collection,  Althorp,  England  Page  zo 

The  Life  of  Murillo  Page  21 

Ellen  E.  Minor 

The  Art  of  Murillo  Page  24 

Criticisms  by  Justi,  Beule,  Solvay,  Stirling 

The  Works  of  Murillo:  Descriptions  of  the  Plates  and  a List  of  Paintings  Page  30 

Murillo  Bibliography  Page  36 

Fhoto-Engravings  hy  Folsom  (sf  Sunergren  : Boston.  Press-work  by  the  Everett  Press:  Boston. 


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old  am 


jHurillo 


Digitized  by  the  Internet  Archive 
in  2016  with  funding  from 
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https://archive.org/details/murilloOOmino 


MAS'l'KHS 


AFtT.  PLA'I'I*;  F. 


PHOTOORAPH 


HRAUN,  CLEMENr  A CIE. 


MIMIIM.O 

Til  !•:  HOLY  l-'AM  II. Y 

i.niTvm:,  F'akis 


MAS'I'KKS  IN’  Airr.  Pr<A’I'K  II. 


PHOTOGRAPH  HY  BRAUN,  CLEMCN  r -1  C1E. 


MUlUJil.O 

viK(;iN  .\Ni)  ciiir,!)  [dmtaii 
Pi  r i’I  P A I.ACK,  I liOUKXPK 


'J’HK  BIJITH  OF  THE  VIHGIN 


MASTKHS  I.V  AKT.  PLATE  V.  ST.  ANTHONY  (JF  PAHUA  AND  THE  CHKIST-CHrLD 


MASTKKS  I.V  ART.  J»r.ATK  VI. 

PHOTOGRAPH  sy  BRAUN,  CLEMENT  A ClE. 


M um  M.O 

KMX  A IlK'l  II  OK  Iirxc  AHV  miAI.IA'c;  TIIK  SICK 

iioYAK  aoaiii':mv  ok  KIM-:  a irrs,  MAomi) 


MAS'l’KHS  IN^  AIM’.  J»I,Ari-;  \11. 


Minuij.n 


PHOTOGRAPH  HY  HANFSTAENQL 


I II  K M K(.()\-1:A’I  KHS 

Mi  xii'ii  <;am,i;uy 


MASTKHS  IiV  AK'r.  PI^A'J  K IX. 

PHOTOGRAPH  8Y  BRAUN,  CLEMENT  A CtE. 


Ml'H  1,0 

'I'm-;  iM.MAou  i.A'ri-:  ooxokptiox 
i,t)uvm';,  PARIS 


I'Kus  i.v  A irr.  I'j.A  ri*:  x. 


PHOTOGRAPH 


LAURENT 


,M  I ' 1{  I I.l  .O 

rm-;  \ isin.\  oi-'  sr.  oi-'  imdi'a 

si-;\- 1 M.K  i;  vi’ii  Kim  A i, 


POHTRAIT  OF  MURILLO  OWA'ED  B3T  EARL  SPEXCER,  ALTIIORP,  EXG. 
This  portrait,  which  shows  Murillo  at  about  the  age  of  sixty,  was  painted  by  him  at 
the  request  of  his  children,  and  is  inscribed,  “ Bartus  Murillo  seipsum  depingens  pro 
filiorum  votis  acprecibus  explendis.’*  It  is  believed  to  be  that  portrait  which  his  con- 
temporary Palomino  speaks  of  as  “wonderful,”  and  is  probably  the  painter’s  most 
authentic  likeness. 


MASTERS  IN  ART 


Bartolomc  ^0teian  iWuriUo 

BORN  1C17;  DIED  IC82 
SPANISH  SCHOOL 

ELLEN  E.  MINOR  “MURILLO” 

BARTOLOME  ESTEBAN  MURILLO  [pronounced  in  Spanish  Moo-reel'-yo, 
and  in  English,  Mew-ril'-o]  was  born  in  Seville,  probably  on  the  last  day  of  De- 
cember, 1617,  and  was  baptized  on  the  first  day  of  January,  1618.  Very  little  is 
known  of  his  early  years.  His  parents  died  before  he  was  eleven  years  old,  leaving  him 
to  the  guardianship  of  a surgeon  of  the  name  of  Juan  Agustin  Lagares,  who  had  married 
his  aunt  Dona  Anna  Murillo.  The  boy  was  probably  soon  afterwards  apprenticed  to 
Juan  del  Castillo,  his  uncle;  a painter  of  ordinary  ability,  under  whose  guidance  Murillo 
made  his  first  steps  in  the  career  of  an  artist.  His  gentle  nature  and  anxiety  to  learn 
soon  made  him  a favorite  with  his  master  and  fellow  students.  Castillo  took  especial 
pains  with  his  instruction,  but  did  not  allow  him  to  omit  any  of  the  tedious  and  unin- 
teresting details  of  grinding  colors,  preparing  and  cleaning  brushes,  and  other  ordinary 
work  of  an  artist’s  pupil.  Murillo  availed  himself  of  all  means  of  improvement,  and 
soon  painted  as  well  as  his  master. 

In  1 640  Juan  del  Castillo  went  to  reside  in  Cadiz,  and  Murillo  was  left  without  his 
friend  and  adviser,  and  in  needy  circumstances.  For  two  years  he  had  a struggle  for 
existence.  There  were  so  many  artists  at  that  time  in  Seville  that  only  the  works  of 
the  most  celebrated  could  be  sold  at  anything  like  a remunerative  price.  Murillo  was 
then  quite  unknown  to  fame,  of  a shy,  retiring  disposition,  without  any  influential  patron 
to  bring  him  into  notice  ; and  his  only  resource  was  to  paint  rough,  showy  pictures  for 
the  Feria,  a weekly  market,  held  in  front  of  the  Church  of  All  Saints,  where  he  took 
his  stand  at  the  stalls  of  eatables  and  old  clothes,  among  groups  of  gypsies  and  mule- 
teers. For  a painting  to  be  called  “ una  pintura  da  feria'’’  was  far  from  complimen- 
tary, for  the  purchasers  were  of  the  lowest  class,  who  delighted  in  bright  colors,  with- 
out a care  for  correctness  of  design.  This  necessity  to  work  for  so  inferior  a class  of 
buyers  was  not  the  hard  fate  of  Murillo  alone,  for  many  of  the  Sevillan  painters  of  fame 
in  the  sixteenth  and  seventeenth  centuries  had  begun  their  artist  life  in  the  same  lowly 
way.  It  was  the  custom  to  bring  brushes  and  colors  into  the  fair,  and  to  paint  or  alter 
the  subject  of  a picture  according  to  order.  Many  of  these  rough  works  were  purchased 
for  the  colonies.  As  he  stood  in  the  market-place  waiting  for  customers,  Murillo  had 
every  opportunity  of  studying  the  habits  and  characteristics  of  the  little  beggar  boys  who 
swarmed  in  the  streets  of  Seville,  and  who  appear  so  often  and  so  true  to  life  upon  his 
canvas.  Still  he  was  destined  for  better  things  than  this. 

Pedro  de  Moya,  a fellow  pupil  of  Murillo’s  in  Castillo’s  school,  having  found  the 
restraints  of  the  workshop  too  irksome,  joined  the  Spanish  infantry,  then  camping  in 
Flanders.  His  love  of  painting,  however,  was  revived  when  he  saw  the  works  of  the  Flem- 
ish artists;  he  threw  aside  his  arms  and  went  to  London  to  study  under  Van  Dyck.  Early  in 


22 


in  3lrt 


1642,  after  that  master’s  death,  Moya  returned  to  Seville,  vastly  improved  by  his  six 
months  with  the  Fleming;  he  brought  with  him  copies  of  several  paintings  by  Van 
Dyck,  and  also  of  many  works  which  he  saw  in  the  Netherlands.  These,  together 
with  the  accounts  of  all  he  had  seen  and  his  own  rapid  improvement  in  style,  so  fired 
the  ambition  of  Murillo  that  he  became  discontented  with  his  circumscribed  position, 
and  resolved  if  possible  to  visit  Rome.  In  order  to  obtain  money  for  the  accomplish- 
ment of  his  design  he  bought  a piece  of  linen,  divided  it  into  squares  of  different  sizes, 
and  painted  upon  them  attractive  saints,  bright  landscapes,  groups  of  flowers,  fruit,  and 
other  subjects  w'hich  suited  the  taste  of  eager  purchasers.  Then,  without  a word  about 
his  intention,  he  went  away  over  the  Sierras  on  foot  to  Madrid,  a long  and  tedious 
journey.  Arriving  there  without  money,  without  friends,  without  anything,  in  fact, 
but  a stock  of  indomitable  courage,  he  went  first  of  all  to  Velasquez,  his  fellow  towns- 
man, then  court  painter  to  Philip  IV.,  to  ask  advice  and  obtain  letters  of  introduction  to 
artists  in  Rome.  Velasquez,  who  was  at  the  height  of  his  power,  received  him  kindly, 
questioned  him  about  Seville,  his  master,  and  his  intentions.  He  was  so  taken  with 
Murillo’s  answers  and  pleased  with  his  manners,  that  he  offered  him  an  asylum  in  his 
own  house,  an  offer  which  was  gratefully  accepted.  . . . 

During  the  summer  of  1642  Velasquez  was  absent  with  the  king  in  Aragon,  and 
upon  his  return  was  much  pleased  with  some  copies  which  Murillo  had  made  of 
paintings  by  Ribera,  Van  Dyck,  and  Velasquez  himself.  In  1643-44  Velasquez  was 
again  absent  with  the  king,  in  the  northern  campaign,  and  during  this  time  Murillo 
had  been  working  with  unflagging  industry,  in  the  closest  study  of  the  masterpieces 
in  the  royal  galleries.  Velasquez  was  astonished  at  the  progress  he  had  made  in  freedom 
of  style  and  decision  of  coloring.  He  now  advised  him  to  go  to  Rome,  offering  to 
give  him  letters  of  introduction  to  the  first  masters  in  that  city.  But  Murillo  had  no 
longer  the  inclination  to  leave  his  country,  and  he  returned  to  Seville  early  in  1645, 
after  an  absence  of  three  years. 

Soon  after  his  return  he  commenced  a series  of  pictures  with  life-size  figures  for 
the  small  Franciscan  convent  near  the  Casa  del  Ayuntamiento.  A sum  of  money  had 
been  collected  by  a member  of  their  mendicant  brotherhood,  and  the  friars  determined 
to  expend  it  upon  eleven  paintings  for  the  small  cloister.  The  amount  was  so  insignifi- 
cant that  none  of  the  Sevillan  masters  had  considered  it  worth  their  acceptance.  This 
was  just  the  opportunity  for  showing  his  skill  for  which  Murillo  was  waiting.  The 
Franciscans,  however,  hesitated  to  give  the  commission  to  an  unknown  artist,  but  at  length 
consented,  as  no  one  of  established  fame  offered  to  undertake  the  work.  For  the  next 
three  years  he  was  employed  upon  the  paindngs,  and  when  they  were  finished  all  mis- 
trust in  the  artist  was  changed  to  admiration  and  joy,  for  they  were  real  triumphs.  In 
all  of  them  could  be  seen  the  influence  of  the  three  years’  study  of  the  works  of  Ribera, 
Van  Dyck,  and  \’elasquez.  By  the  assimilation  of  the  styles  of  all  three  he  had  grad- 
ually developed  one  peculiarly  his  own.  While  his  contemporaries  still  kept  to  the  tame, 
lifeless  style  as  taught  in  the  Seville  schools,  Murillo  boldly  struck  out  another  path,  with 
nature  as  his  instructor;  and  his  name  soon  eclipsed  those  of  Pacheco,  Herrera,  Valdes- 
Leal,  and  Zurbaran,  which  unul  then  had  been  the  most  honored  in  Seville.  By  these 
paintings  the  artist’s  reputation  was  made,  and  he  was  soon  overwhelmed  wdth  orders 
from  different  quarters. 

Now  began  a new  era  in  his  life.  He  was  fully  occupied  in  decorating  the  churches 
of  different  religious  communities,  and  with  work  for  noble  patrons;  he  was  admitted  into 
the  highest  circle  of  society,  and  was  worshipped  by  the  people.  In  1648  his  circum- 
stances had  so  far  improved  as  to  enable  him  to  marry  a wealthy  and  noble  wife. 
Dona  Beatriz  de  Cabrera  y Sotomayer.  Apparently  the  strict  Catholic  spirit  which  is 


23 


u r i 11  0 

so  evident  in  his  works  also  ruled  in  his  home.  His  two  sons  became  priests.  The 
elder,  Gabriel  Esteban,  went  to  America.  The  second,  Caspar  Esteban,  who  for  a 
time  devoted  himself  to  art,  imitating  his  father’s  style,  became  eventually  a canon  in 
Seville  Cathedral. 

After  his  marriage,  Murillo’s  house  became  the  resort  of  the  most  distinguished  peo- 
ple in  Seville;  and  in  1654,  when  Pacheco’s  death  occurred,  he  became  the  acknowl- 
edged head  of  the  Sevillan  school.  His  style  continually  improved,  his  figures  became 
rounder,  his  outlines  softer,  the  backgrounds  more  hazy,  and  his  individuality  more 
pronounced. 

The  need  of  a public  academy  for  painting  had  been  much  felt  by  Murillo  in  his 
early  days,  and  he  determined  to  supply  it  for  the  benefit  of  a younger  generation.  By 
patiently  enduring  the  decided  opposition  of  his  rivals,  Herrera  the  younger  and  Valdes- 
Leal,  he  at  length  won  them  over  to  join  in  the  undertaking,  and  succeeded  in  opening 
an  Academy,  of  which  he  and  Herrera  were  chosen  the  first  presidents,  on  the  first  of 
January,  1660.  The  expenses  were  to  be  divided  among  the  members,  the  scholars  to 
pay  what  they  could  afford.  The  Seville  Academy  cannot  be  said  to  have  had  any  great 
influence  on  Spanish  art,  and  never  produced  any  first-rate  artists,  nor  did  it  long  sur- 
vive Murillo, — a man  w'ho  had  fewer  followers  after  his  death  than  rivals  during  his 
life,  — and  twenty  years  after  his  death  it  was  closed  for  want  both  of  masters  and  students. 
After  retiring  from  the  Academy,  Murillo  confined  his  instructions  to  those  pupils  who 
assembled  in  his  own  workshop.  By  gentle  teaching  he  knew  how  to  attach  them  to 
himself,  and  retained  the  warm  friendship  of  many  even  to  the  end  of  his  life. 

Palomino  says  that  in  1670  a painting  of  the  Conception  by  Murillo,  which  was 
exhibited  at  the  feast  of  Corpus  Christi  in  Madrid,  attracted  great  notice,  and  that 
Charles  II.  expressed  a desire  that  the  artist  should  enter  his  service,  and  employed 
Murillo’s  friend  Don  Francisco  Eminente  to  bring  it  about.  But  all  his  efforts  were 
unavailing,  for  Murillo  had  seen  nothing  attractive  in  Velasquez’s  position  at  court,  and 
preferred  his  own  independent  retirement  in  Seville.  He  was  now  at  the  zenith  of  his 
power.  In  1671  he  commenced  a series  of  paintings  for  the  hospital  of  the  old  estab- 
lished brotherhood  of  the  Holy  Charity  in  Seville,  to  which  he  had  himself  been  allied 
as  a lay  brother  since  1665.  He  was  engaged  to  paint  eleven  pictures  for  it,  which 
occupied  him  for  about  four  years,  and  are  some  of  his  most  celebrated  w'orks.  From 
this  time  on  he  was  constantly  occupied  in  painting  innumerable  religious  pictures 
for  convents,  monasteries,  and  churches.  But  it  was  not  for  convents  and  churches 
only  that  Murillo  painted.  Bermudez  says  that  there  was  scarcely  a good  house  in 
Seville  that  did  not  possess  some  memento  of  his  skill. 

Seville  ever  remained  the  theatre  of  Murillo’s  work;  after  his  journey  to  Madrid 
in  his  younger  days  he  only  once  left  his  native  town.  At  the  beginning  of  1680  he 
went  to  Cadiz  to  paint  one  large  and  four  small  pictures,  with  which  he  had  promised 
to  fill  the  retablo  of  the  high  altar  in  the  church  of  the  Capuchin  friars.  The  large  one 
represented  the  “Marriage  of  St.  Catherine,”  a large  portion  of  which,  namely  the 
graceful  centre  group  of  the  Virgin  and  infant  Saviour  and  the  bride,  was  finished,  when 
the  artist  had  a dangerous  fall  from  the  scaffold  which  he  was  mounting  to  enable  him 
to  reach  the  upper  part  of  the  painting.  Tradition  says  that  this  accident  occurred  in 
the  chapel  at  Cadiz,  but  whether  there  or  in  his  own  studio,  it  is  certain  that  the  end 
of  his  life  was  passed  in  Seville.  Too  weak  any  longer  to  be  able  to  use  his  brush,  he 
would  spend  hours  in  prayer  in  the  parish  church  of  Santa  Cruz,  close  by  which  he 
lived.  His  favorite  position  was  in  front  of  Campana’s  celebrated  painting  of  the 
“Descent  from  the  Cross,”  executed  a century  before,  and  which  Murillo  greatly 
admired. 


24 


in  ^rt 


When  Murillo  felt  that  his  end  was  approaching,  he  sent  for  a notary  to  make  his 
will;  but  death  came  so  quickly  that  he  was  unable  to  sign  it.  The  notary  appended 
the  following  statement  to  the  document:  “Towards  five  o’clock  on  the  afternoon  of 
the  third  of  April,  1682,  I was  sent  for  to  make  the  will  of  Bartolome  Murillo,  painter 
and  burgher  of  this  town  of  Seville;  and  when  I had  written  down  as  far  as  the  names 
of  his  heirs,  and  was  inquiring  the  name  of  his  son  Don  Gaspar  Esteban  Murillo,  and 
as  he  was  in  the  act  of  saying  his  name  and  that  of  his  elder  son,  I observed  that  he 
was  dying;  and  when  I asked  him  the  formal  question  whether  he  had  made  any  other 
will,  he  did  not  reply,  and  soon  after  died.” 

His  funeral  was  celebrated  with  great  pomp,  and  he  was  laid  to  rest  by  his  own  de- 
sire in  the  church  of  Santa  Cruz  at  the  foot  of  his  favorite  picture. 

M.  F.  SWEETSER  “MURILLO” 

The  free  march  of  French  armies  throughout  the  Spanish  peninsula  in  the  days  of 
the  first  Napoleon  brought  about  an  extension  of  the  fame  of  Spanish  art;  for 
their  retreating  baggage-trains  carried  into  Northern  Europe  hundreds  of  priceless  paint- 
ings. Marshal  Soult  was  especially  energetic  in  plundering  Southern  Spain  of  its  best 
pictures,  from  whose  sale  he  derived  great  sums  in  after-years. 

Soult’ s robberies  were  skilfully  planned  and  premeditated;  and  the  cities  in  advance 
of  his  army  were  explored  by  spies,  in  the  disguise  of  tourists,  who  were  provided  with 
Bermudez’s  “ Dictionary  of  Art  in  Spain,”  and  marked  out  the  richest  treasures.  The 
Marshal  seized  the  objects  of  his  covetousness,  and  carefully  guarded  the  legality  of  their 
titles  by  forcing  their  owners  to  sign  fictitious  bills  of  sale.  The  trophies  were  trans- 
ferred to  his  house  in  Paris;  and  for  many  years  afterwards  the  thrifty  veteran  derived 
a large  income  from  selling  them,  one  by  one,  to  wealthy  English  nobles.  Hundreds 
of  other  pictures  were  huddled  into  the  Alcazar  of  Seville,  awaiting  transportation  to 
France;  hut  the  sudden  retreat  of  the  French  army  compelled  their  abandonment.  In 
1852  what  remained  of  Marshal  Souk’s  collection  was  sold,  and  the  fifteen  Murillos 
which  it  contained  brought  ^232,649. 


'Cljr  9irt  of  jHurillo 

CARL  JUST!  INTRODUCTION  TO  BAEDEKEr’s  “SPAIN  AND  PORTUGAL” 

IT  has  lately  become  fashionable  to  depreciate  Murillo  in  contrast  with  Velasquez, 
partly  in  reaction  against  his  popularity  with  the  layman,  and  partly  on  technical 
and  artistic  grounds.  It  appears  to  us  that  neither  reason  is  justified.  The  two  masters 
should  not  be  compared,  — the  one  holds  the  mirror  to  nature  and  his  period,  the  other 
shows  us  what  lies  behind  the  brow.  Murillo,  who  lived  in  a fanatically  Roman  Cath- 
olic provincial  town,  and  painted  for  conventual  churches,  hospitals,  and  sacristies, 
had  to  represent,  like  the  contemporary  Italians,  the  subjects  that  pleased  the  devout  of 
his  day,  such  as  the  Immaculate  Conception,  the  visions  of  the  monk’s  cell,  the  mys- 
teries and  ecstasies  of  asceticism.  He  could  not  devote  his  entire  energy  to  the  repro- 
duction of  the  mere  visual  phenomenon.  He  had  to  depict  what  he  had  never  seen;  he 
had  to  wrestle  for  years  with  such  a problem  as  how  to  paint  successfully  a human  face 
set  against  a background  of  glowing  light.  But  his  critics  shut  their  eyes  to  his  marvel- 
lous mastery  of  the  illustrative  apparatus,  in  which  he  vies  with  the  Italians  of  the  aca- 
demic school.  They  assert  that  his  effects  are  purely  materialistic,  though  hundreds  of 


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artists,  already  forgotten  or  quickly  passing  into  oblivion,  have  produced  precisely  sim- 
ilar effects  so  far  as  the  material  outside  is  concerned.  The  fact  that  we  speak  of 
Murillo’s  “St.  Anthony”  and  his  “Immaculate  Conception”  as  if  he  had  created 
them  is  itself  a proof  that  he  does  not  owe  everything  to  his  material.  It  is  more  prob- 
able that  the  depreciation  of  Murillo  has  its  real  ground  in  the  modern  materialist’s  dis- 
like of  the  mystical  subjects  of  the  painter.  He  has  represented  things  which  the  power 
of  Velasquez  refused  to  grapple  with;  but  to  give  reality  to  the  never-seen  is  also  legit- 
imate art.  He  depicts  the  miraculous  in  so  naive  and  intimate  a way  that  it  loses  its 
unnatural  character;  and  his  pictures  are  so  simple  and  so  truthfully  felt  that  even  the 
sceptic  can  appreciate  their  charm  and  read  into  them  purely  human  ideas. 

Murillo  was  originally  as  essentially  a realist  as  Zurbaran  or  Velasquez.  When  his 
task  was  merely  to  reproduce  the  actual,  as  in  his  famous  groups  of  boys,  and  in  the 
rendering  of  accessories,  such  as  animals,  ecclesiastical  vessels,  or  the  contents  of  a 
library,  he  has  combined  his  characteristic  broadness  of  touch  with  due  attention  to  the 
accuracy,  form,  and  pleasingness  of  the  external  appearance.  His  artistic  greatness,  the 
secret  of  his  wonderful  success,  lies  in  the  fact  that  he  recognized  the  unique  character 
and  special  charm  of  the  human  nature  of  Southern  Spain,  adapted  it  to  the  palette  and 
the  brush,  and  ventured  to  introduce  it  into  paintings  of  religious  subjects.  This  accounts 
for  those  elastic  figures,  the  soft  and  supple  forms  of  which  lend  themselves  much  more 
readily  to  painting  than  to  sculpture;  this  is  the  source  of  the  deep  brown  of  the  eyes 
and  hair,  set  off  by  a warm  flesh-tone  reflecting  the  light. 

To  many  this  seems  a thing  of  no  great  importance;  but  he  was  the  first  to  discover 
it,  and  none  of  his  imitators  has  reached  his  level.  The  Andalusian  saints  and  Madon- 
nas seen  elsewhere  might  just  as  well  have  been  painted  in  Naples  or  in  Holland.  Like 
Rembrandt,  he  recognized  with  the  insight  of  genius,  that  biblical  history  and  the  legends 
of  the  saints  could  be  best  narrated  in  the  dialect  of  the  people.  . . . 

The  pupil  of  a careless  and  incorrect  academician  like  Juan  de  Castillo,  Murillo  would 
not  have  become  what  he  was  if  he  had  not  undergone  the  purging  of  both  phrase  and 
manner  offered  by  the  naturalism  of  the  period.  Manv  of  his  earlier  paintings  are  cold 
and  sombre  in  tone,  sad  in  coloring,  black  in  the  shadows,  jejune  and  trivial  in  charac- 
ter and  expression.  This  early  style  is  known  as  the  estilo  frio,  or  cold  style,  though 
such  generalizations  must  not  be  applied  in  too  sweeping  a manner.  His  next  phase, 
known  as  the  warm  style,  estilo  caiido,  is  marked  by  deeper  coloring  and  strong  contrasts 
of  light  and  shadow;  but  the  light  is  actual  light  and  the  plastic  forms  are  well  defined. 
Murillo’s  last  style,  peculiar  to  himself,  is  known  as  el  vaporoso,  from  a certain  va- 
porous or  misty  effect  that  it  produces.  He  here  shows  the  unmistakable  influence  of 
Rubens,  whom  he  had  studied  in  engravings.  The  struggle  of  all  great  colorists  to  over- 
come the  heaviness,  opacity  and  hardness  of  matter  led  Murillo  to  his  last  system.  Al- 
though still  of  solid  impasto  (hence  the  enduring  quality  of  his  painting),  his  brush- 
work  is  now  loose  and  free;  he  produces  his  effect  by  a variety  of  tints  melting  into  one 
another;  he  arranges  the  drapery  now  in  sharp  folds,  now  in  flat.  He  models  in  the 
light  without  the  aid  of  gray  shadows;  his  palette  is  full  of  cheerful  and  warm  colors; 
his  figures  are  overflowing  with  life  and  sensibility;  he  has  found  the  secret  of  so  de- 
materializing  them,  partly  through  their  gestures  and  partly  through  his  handling  of 
drapery,  chiaroscuro,  and  accessories,  that  they  seem  to  float  in  air;  his  visions  are,  as 
it  were,  woven  of  light  and  air. 

The  description  of  Murillo  as  an  improvisatore,  who  “paints  as  the  bird  sings,’’  is 
not  very  apposite.  Few  men  have  so  well  understood  the  art  of  pictorial  composition 
or  known  so  well  how  to  charm  the  eye  by  gradations  of  light,  skilful  attitudes,  and 
adroit  foreshortenings;  few  painters  have  calculated  their  effects  more  carefully. 


26 


in  9lrt 


C.  E,  BEULE  “REVUE  DES  DEUX  MONDES”:  1861 

Murillo  L a popular  idol,  not  alone  in  his  native  country,  but  throughout 
Europe,  where  his  pictures  command  prices  equal  to  those  ot  the  greatest  mas- 
ters, as  the  director  of  the  Louvre  can  testify.  On  the  other  hand,  artists  seem  to  have 
but  a mediocre  opinion  of  him;  for  though  they  acknowledge  his  facility  and  charm, 
thev  do  not  find  in  him  that  force  which  commands  their  attention,  nor  the  technique 
nor  those  original  qualities  which  make  him  worthy  of  their  study.  A wiser  judgment  lies, 
it  seems  to  me,  between  the  two;  and  for  my  part,  while  I delight  in  his  happy  gifts,  I 
cannot  shut  my  eyes  to  his  defects;  and  though  I study  his  work  with  lively  pleasure, 
I cannot  accord  him  that  blind  admiration  which  is  the  due  only  of  the  greatest  masters. 
Therefore  those  critics  whom  Murillo  inspires  with  so  overwhelming  an  admiration  must 
pardon  me  if  I cannot  follow  them  in  imitating  the  solemn  rites  with  which  they  ap- 
proach their  idol.  For  example, — and  perhaps  to  establish  a likeness  to  Raphael,  as 
if  such  changes  in  style  were  to  be  remarked  only  in  the  greatest  artists!  — they  attrib- 
ute to  Murillo  three  formal  manners,  and  pointing  from  one  example  of  his  work  to 
another  say,  “This  picture  is  in  his  ‘warm  ’ manner,  this  in  his  ‘cold,’  and  this  third 
in  his  ‘misty’  style.”  I have  striven  in  vain  to  find  the  true  basis  for  any  such  cut- 
and-dried  divisions.  The  only  divisions  in  his  art  which  seem  to  me  to  hold,  are  those 
which  mark  his  progress  successively  from  a formative  period,  when  to  gain  an  imme- 
diate livelihood  he  was  hastily  daubing  his  bits  of  linen  at  the  fair;  a second,  when  he 
was  developing  his  style  by  a study  of  the  masterpieces  in  Madrid;  and  a third,  when 
he  finally  became  master  of  his  individual  talent.  It  would  be  a more  exact  description 
to  say,  simply,  that  one  picture  is  badly  composed  and  crude  in  color  and  design,  that 
another  is,  on  the  contrary,  vigorously  painted,  and  that  a third  is  so  rendered  that  the 
outlines  seem  half  lost  in  clouds. 

Indeed,  Murillo’s  nature  was,  to  my  thinking,  quite  too  simple  to  lend  itself  to  such 
critical  subtleties.  A man  of  instinct  rather  than  will,  of  sentiment  rather  than  system, 
a painter  by  temperament,  whose  inspiration  was  facile,  flowing,  and  unpremeditated, 
he  painted  as  a bird  sings,  without  effort  and  without  definite  intention.  I believe  he 
would  have  been  highly  perplexed  if  he  had  been  asked  to  expound  his  “theories  of 
art.  ” The  carelessness  of  brush,  the  promptitude  of  conception,  the  absence  of  conscious 
volition,  - — • in  a word,  the  happy  freedom  from  bonds,  is  so  evident  in  his  works  that  it 
should  disarm  those  crit’cs  who  approach  them  to  judge  and  measure  by  rule  and  formula. 

To  my  mind,  both  the  weaknesses  and  the  talents  of  Murillo  are  but  clear  expressions 
of  the  man’s  own  nature  and  of  the  wider  nature  of  the  Andalusian  race.  Let  us  set 
his  portrait  before  us;  — not  that  which  he  painted  for  his  sons,  and  which  depicts  him 
in  mature  age,  a formed  and  accomplished  artist,  but  that  other  likeness  which  Louis 
Philippe  bought  in  Seville,  and  which  shows  him  in  the  flush  of  youth,  with  all  his  pos- 
sibilities before  him.  We  find  him  brilliant,  ardent,  fresh-colored,  the  warm  blood  flow- 
ing close  under  his  skin;  his  eyes  black,  penetrating,  full  of  fire  and  fuller  still  of  passion; 
his  forehead  high,  and  modelled  with  those  slight  bosses  which  show  a quick  but  rather 
feminine  intelligence;  the  lower  part  of  his  face  (as  is  frequently  the  case  with  his 
countrymen)  less  finely  cut,  and  marred  by  a coarse  mouth  and  the  heavy  outline  of 
the  chin.  The  total  impression  is  that  of  a nature  in  which  ardor  serves  instead  of  force, 
of  facile  but  superficial  rather  than  profound  intelligence,  and,  as  a prime  trait,  highly 
mundane  and  sensual.  Are  not  these  the  verv  qualities  we  find  written  in  his  works? 

Look  at  his  Virgins,  whose  beauty  is  of  so  human  a cast;  his  infant  Christs,  whose 
grace  is  so  much  more  carnal  than  divine;  his  angels  and  cherubs,  which  might  have 
been  the  despair  of  Boucher  and  his  school;  his  saints  and  monks,  w’ho  adore  the 
Madonna  or  the  Christ-child  with  such  earthly  passion.  One  of  the  most  religious  of 
painters  in  his  subjects,  Murillo  was,  it  seems  to  me,  one  of  the  most  pagan  in  his  sen- 


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timents.  With  him  the  embodiment  speaks  more  loudly  than  the  idea,  and  the  forms, 
borrowed  from  nature,  have  perhaps  a beauty  a thought  too  graceful,  and  a fleshliness  a 
thought  too  near  voluptuousness  to  accord  with  the  highest  devotion. 

And  yet,  in  saying  this  I have  no  wish  to  imply  a doubt  of  Murillo’s  personal  de- 
voutness or  the  sincerity  of  his  intentions.  The  faith  which  his  paintings  express  was 
the  faith  of  his  time  and  country.  Before  his  day  conflict  with  the  Jews  and  Moors  had 
excited  religious  passion  in  Andalusia  to  the  highest  pitch; — nowhere  had  the  auto  de 
fe  caused  greater  bloodshed,  or  the  tyranny  of  the  Inquisition  been  more  magnificently 
imperious.  But  in  Murillo’s  time  this  severity  had  relaxed.  A sentimental  devotion  had 
replaced  fanaticism.  The  Jesuits,  whose  whole  policy  of  adaptable  principles,  allowance 
of  many  pleasures,  easy  penances,  sense-charming  ceremonies,  and  adornment  of  the 
churches  with  hitherto  unknown  magnificence,  was  exactly  adapted  to  the  Andalusian 
character,  were  welcomed  with  special  eagerness  by  the  people  of  Seville.  At  the  same 
time,  the  inflammable  imaginations  of  the  people  were  excited  by  the  exploitation  of 
new  miracles,  by  the  revival  of  old  legends,  by  daily  accounts  of  apparitions,  visions, 
and  ecstasies.  It  was  no  longer  the  robust  faith  of  the  Middle  Ages  nor  the  austerity 
of  the  cloisters,  but  an  easier  devotion  and  a more  picturesque  and  emotional  type  of 
religion  that  Murillo’s  brush  was  called  upon  to  serve.  This  is  why  he  so  frequently 
painted  these  ecstatic  Assumptions  and  Conceptions;  these  monks  before  whose  faith  the 
depths  of  a glad  heaven  open;  these  Franciscans  upon  whom  the  infant  Saviour  bestows 
his  childlike  kiss;  these  Dominicans  who  embrace  the  crucifix  with  such  passion  that 
Christ  leans  from  it  to  caress  them;  these  winged  seraphs  who  change  the  scourges  of 
self- torturing  saints  to  roses  and  lilies.  In  all  such  cases  he  found  his  plan  ready-made 
and  his  procedure  simple.  He  was  not  forced  to  constantly  exert  imaginative  invention, 
— a . tax  which  might  have  been  beyond  the  limit  of  his  powers. 

His  historical  pictures  will  serve  as  a still  more  satisfactory  test  by  which  to  measure 
his  talents  and  their  limitations;  for  it  is  in  such  subjects  that  the  ability  of  the  painter 
in  composition,  in  style,  and  in  dignity  is  most  taxed,  and  in  which  the  mediocre  endow- 
ment soonest  betrays  itself. 

Let  us  take,  for  example,  Murillo’s  large  canvas  of  “ Moses  Striking  the  Rock”  in 
the  Hospital  of  La  Caridad  in  Seville.  Here  the  artist  has  given  us  a picture  which  is 
clear,  interesting,  and  agreeable,  but  he  has  treated  his  subject  without  distinction,  in- 
deed I might  almost  say  without  intelligence,  for  the  true  elements  of  its  grandeur  — 
the  awfulness  of  thirst,  the  passionate  gratitude  of  the  little  band  rescued  from  imminent 
death,  the  sublime  inspiration  of  the  prophet  who,  for  the  moment,  wields  the  power 
of  God  — have  entirely  escaped  him.  Remove  Moses  and  Aaron  from  the  picture  — 
and  indeed  their  removal  would  be  easy,  for  they  are  not  integral  parts  of  the  composi- 
tion, and  their  expressions  are,  at  best,  uncertain  — and  there  will  remain  merely  a 
large  genre-picture,  which  might  appropriately  be  called  “The  Halt  at  the  Foun- 
tain.” It  would  be  a very  charming  picture  too,  with  its  groups  of  women  filling 
their  jugs,  the  mothers  caring  for  their  little  children,  the  dog  drinking,  all  expressed  in 
the  gay  flower-like  tones  which  Murillo  knew  so  well  how  to  employ.  It  is  evident 
that  the  deeper  meaning  of  his  subject  did  not  preoccupy  the  artist  for  a moment,  and 
that,  in  the  delight  of  painting  these  bits  of  familiar  life,  the  real  every-day  types  which 
were  to  his  taste  and  within  the  scope  of  his  talents,  he  forgot  its  gravity.  The  same  is 
true  of  his  picture  of  “ Christ  Feeding  the  Multitude.”  Here  neither  Christ  nor  the 
apostles  first  attract  our  attention,  but  the  waiting  women  seated  in  the  foreground.  We 
shall  find  the  same  merits  and  the  same  deficiencies  in  the  “ St.  Elizabeth  of  Hungary.” 
The  saint  has  a cold,  distracted  air,  and  tends  her  patients  as  disinterestedly  as  if  she 
had  held  such  a clinic  daily  for  twenty  years.  Of  the  spirit  of  tender  charity  which 
should  have  been  the  vital  animation  of  the  picture  Murillo  has  given  us  nothing.  He 


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was  himself  interested  and  he  interests  us  in  his  painting  of  the  patient  who  bends  over 
the  basin,  the  man  in  the  foreground  who  unwinds  the  bandage  from  his  leg,  the  cripple 
who  is  making-off  behind,  or  the  little  ragamuffin  who  is  scratching  his  head  with  such 
a monkey-like  grimace. 

But  if  Murillo’s  talent  was  insufficient  for  large  historical  compositions,  it  was  ample 
and  delightful  in  those  smaller  canvases  where  the  interest  in  individual  figures,  such  as 
the  isolated  bits  in  his  more  ambitious  pictures,  serves  in  place  of  the  grand  style,  and 
the  general  effect  is  intended  rather  to  charm  than  to  impress. 

On  the  one  hand,  then,  to  copy  nature  without  reading  into  her,  as  the  greatest 
artists  have  been  able  to  do,  a deeper  meaning  than  lies  upon  the  surface,  and  on  the 
other  to  gracefully  express  the  half  pious,  half  emotional  movements  of  the  soul, — herein 
lies  Murillo’s  role.  He  is  by  turns  of  the  earth  and  of  the  sky;  half  a painter  of  the 
real,  half  a painter  of  pleasant  and  sensual  dreams. 

In  considering  Murillo’s  work  in  its  more  technical  qualities,  I find  that  many  of  his 
most  ardent  admirers  content  themselves  with  extolling  his  coloring,  and  make  no  at- 
tempt to  defend  his  drawing.  In  truth,  considering  that  he  was  a painter  so  fond  of 
copying  nature,  his  drawing  was  mannered  to  a surprising  degree;  and,  more  than  this, 
I must  confess  that  I find  in  it  something  which  I can  no  better  express  than  to  call  it 
a taint  of  “ commonness  ” — a fault  which  seems  to  me  far  more  regrettable  than  such 
blemishes  as  badly  finished  fingers,  arms  which  lack  anatomy,  or  heavy  and  impossible 
folds  of  drapery;  for  such  blemishes  do  not,  on  the  whole,  deprive  a design  of  charac- 
ter, while  the  sin  of  vulgarity  is  an  all-pervading  and  deadly  one. 

As  for  color,  Murillo  was  endowed  by  nature  with  a gift  for  it;  and  like  all  those  who 
are  guided  rather  by  instinct  than  by  science,  he  sometimes  failed  sadly  in  his  harmonies, 
and  at  other  times  was  most  exquisitely  inspired.  His  coloring  is  ordinarily  unctuous 
and  consistent  rather  than  vigorous,  and  is  usually  warm  and  charming;  but  here  too 
I must  qualify  my  praise  and  confess  to  finding  in  his  use  of  color  what  I must  again 
call  the  taint  of  vulgarity.  Nothing  is  more  fatal  to  a Murillo  than  the  proximity  of  a 
painting  by  Velasquez,  whose  aristocratic  brush,  whose  color,  imposing  by  its  force  of 
truth,  makes  the  coloring  of  the  other  seem  almost  “pretty  ” and  chromo-like,  and  his 
light  rather  the  light  of  the  lamp  than  the  white  radiance  of  day. — abridged  from  the 

FRENCH. 

luciensolvay  “l’artespagnol” 

Murillo  was  the  spoiled  child  of  his  owm  time,  and  he  has  continued  to  be  the 
spoiled  child  of  subsequent  generations  up  to  the  present;  but  it  is  already  fore- 
shadowed that  the  generation  to  come  will  judge  him  less  blindly.  Indeed,  to  our  thinking, 
such  universal  popularity  alone  is  enough  to  establish  his  intrinsic  inferioritv  to  Velasquez, 
Zurbaran,  and  Ribera,  whose  works  had  nothing  of  popular  appeal  in  them.  To  admire 
one  must  understand,  and  what  the  great  majority  fully  understands  is  likely  to  be  but 
mediocre.  On  the  other  hand,  it  is  clear  that  Murillo’s  work  has  in  it  a true  fun- 
damental value,  for  wide-spread  popular  admiration,  no  matter  how  superficial,  has  al- 
ways some  just  basis.  The  power  of  Murillo  is  due  to  the  facts  that  he  was  one  of  the 
most  fertile  artists  of  his  time,  and  that  he  had  an  engaging  personality  which  he  was 
able  to  put  into  his  work. 

It  would  have  been  better  for  his  final  fame  if  he  had  painted  fewer  Assumptions  and 
Holy  Families,  with  their  swarms  of  cherubic  angels  and  their  infant  Christs,  and  spent 
more  pains  upon  those  he  did  paint.  But  he  multiplied  them  without  number,  and  from 
constant  repetition  their  peculiar  grace  — in  which  there  is  perhaps  some  taint  of  affecta- 
tion — soon  became  but  a stereotyped  grace.  He  turned  out  cherubs  by  the  dozen. 


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u c i II  0 

all  equally  charming,  with  great  black  eyes  and  blonde  hair  and  rosy  mouths,  as  if  from 
a stock  formula. 

His  historical  paintings,  more  severe  in  inspiration  and  of  a higher  type,  escape,  at 
least,  this  danger  of  constant  and  stereotyped  repetition.  In  all  of  them  we  recognize 
a gift  for  arrangement,  and  the  hand  of  an  artist  of  taste  and  knowledge.  We  shall, 
however,  search  in  vain  among  them  for  works  of  true  power.  Whatever  the  scene 
which  he  undertook  to  paint,  Murillo  will  always  remain  a “ pleasant  ” painter,  whose 
“pleasantness”  verges  upon  insipidity;  an  “elegant”  colorist,  whose  elegance  verges 
upon  effeminacy.  The  Catholic  religion,  to  whose  service  he  had  devoted  himself,  was 
no  longer  in  his  hands  that  virile,  austere,  and  almost  savage  religion  of  the  Inquisition 
and  the  auto  de  fe  of  the  former  Spanish  masters.  His  God  was  but  a benign  Father,  well 
disposed,  no  longer  to  be  feared  but  rather  to  be  adored.  When  He  appears  upon 
Murillo’s  canvas  it  is  always  with  open  arms,  always  to  pardon,  always  to  rejoice,  never 
as  the  inspirer  of  awe  or  the  bearer  of  punishment.  Devotion  is  thus  transformed  into 
a sort  of  delicious  hysteria. 

One  can  hardly  imagine  the  paintings  of  Murillo  adorning  the  cold,  sombre  walls  of 
a cloister.  What  a cruel  antithesis  there  seems  to  be  between  the  ascetic  solitude  of  the 
monastery  and  Murillo’s  gentle  pictures,  with  their  Virgins  who  are  so  almost  profanely 
feminine,  and  their  bouquets  of  cupid-like  cherubs  sporting  among  roses  upon  golden 
clouds!  They  seem  fitted  rather  to  adorn  the  silken  walls  of  boudoirs  where  the  day- 
light filters  through  curtains  of  tinted  lace  to  fall  upon  them. 

When  a subject  inherently  sad  or  violent  was  presented  to  his  brush,  a subject  which 
of  necessity  compelled  other  than  grace  and  smiles,  Murillo,  the  compatriot  of  those 
sombre  historians  of  Spain’s  church  militant,  adds  accessories  to  turn  our  eyes  away 
from  the  painful  spectacle.  The  sky  opens  and  choirs  of  blonde  and  rosy  angels 
hasten  to  bring  victorious  palms  to  the  sufferer,  to  remind  us  that  the  tortures  of  the 
martyr  are  but  momentary.  Whenever  it  is  possible  these  pretty,  winged  angels  of 
his  reappear  to  relieve  the  monotony  of  his  dark  brown  or  black  backgrounds  by  the 
rosy  whiteness  of  their  dainty  bodies;  and  I will  wager  that  the  celebrity  of  the  “ St. 
Anthony  of  Padua  ’ ’ depends  much  more  upon  the  fresh  band  of  these  delightful  dolls 
of  heaven  who  accompany  the  little  Jesus  (so  delicious  a child  that  the  sight  of  him 
should  soften  the  heart  of  the  severest  cenobite)  than  upon  the  fervent  attitude  and  ex- 
pression of  the  saint  himself. 

In  singular  contrast  with  these  legions  of  angels  and  flower-like  Madonnas  is  the 
tatterdemalion  troop  of  poor,  which  appears  in  many  of  his  most  famous  pictures.  To 
my  mind  these  figures  will  plead  loudly  for  his  glory  before  the  tribunal  of  posterity. 
His  beggar  boys  and  the  cripples  and  lepers  in  “St.  Elizabeth  of  Hungary  ’’recall 
“The  Topers”  of  Velasquez  by  the  pungency  of  their  local  color  and  their  lifelike 
and  picturesque  humanity.  In  painting  them  Murillo  must  have  felt  his  native  Spanish 
instincts  revived  and  quickened.  It  seems  as  if  it  were  a healthy  relief  to  him  to  thus 
give  play  to  the  natural  blood  in  his  veins  after  having  so  constantly  devoted  himself  to 
painting  supernatural  dreams;  and  it  he  had  not  bent  his  imagination  so  exclusively  to 
heavenly  visions,  and  had  consecrated  himself  to  the  study  of  his  kind,  as  did  Velasquez, 
he  would,  I believe,  have  been  to  the  Spanish  common  people  the  painter  that  Velas- 
quez was  to  the  Spanish  nobility.  — abridged  from  the  french. 

WILLIAM  STIRLING  “ANNALS  OF  THE  ARTISTS  OF  SPAIN” 

Among  the  ecclesiastical  painters  of  Spain  Murillo  holds  the  same  unapproached 
pre-eminence  that  is  held  by  Velasquez  amongst  the  painters  of  the  Spanish 
Court.  “All  the  peculiar  beauties  of  the  school  of  Andalusia,”  says  Cean  Bermudez, 


30 


in  9lrt 

“ its  happy  use  of  red  and  brown  tints,  the  local  colors  of  the  region,  its  skill  in  the 
management  of  drapery,  its  distant  prospects  of  bare  sierras  and  smiling  vales,  its  clouds 
light  and  diaphanous  as  in  nature,  its  flowers  and  transparent  waters,  and  its  harmonious 
depth  and  richness  of  tone,  are  to  be  found  in  full  perfection  in  the  works  of  Murillo.” 
As  a religious  painter  he  ranks  second  only  to  the  greatest  masters  of  Italy.  In  ideal 
grace  of  thought  and  in  force  and  perfection  of  style  he  yields,  as  all  later  artists  must 
yield,  to  that  constellation  of  genius  of  which  Raphael  was  the  principal  star.  But  his 
pencil  was  endowed  with  a power  of  touching  religious  sympathies  and  awakening  ten- 
der emotions  which  belonged  to  none  of  the  Italian  painters  of  the  seventeenth  century. 
Some  of  them  doubtless  display  a more  accurate  knowledge  of  the  rules,  but  none  have 
so  efficiently  fulfilled  the  purposes  of  art.  He  did  not,  because  he  could  not,  follow  the 
track  of  the^  great  old  masters;  but  he  pressed  forward  in  the  true  spirit  towards  the 
mark  of  their  high  calling.  The  genius  of  ancient  art,  all  that  is  comprehended  by  artists 
under  the  name  of  the  antique,  was  to  him  “ a spring  shut  up  and  a fountain  sealed.” 
He  had  left  Madrid  long  before  Velasquez  had  brought  his  collection  ot  casts  and  mar- 
bles to  the  Alcazar.  All  his  knowledge  of  pagan  art  must  have  been  gleaned  in  the  Al- 
cala Gallerv,  or,  at  second  hand,  from  Italian  pictures.  Athenian  sculpture  of  the  age 
of  Pericles  therefore  had,  directly  at  least,  no  more  to  do  with  the  formation  of  his  taste 
than  the  Mexican  painting  of  the  age  of  Montezuma.  All  his  ideas  were  of  home 
growth;  his  mode  of  expression  was  purely  national  and  Spanish;  his  model,  nature  as 
it  existed  in  and  around  Seville. 


%i)t  l^orfes  of  Jtturillo 

DESCRIPTIONS  OF  THE  PLATES 

“THE  HOLY  FAMILY”  LOUVRE:  PARIS 

This  picture,  sometimes  called  “La  Vierge  de  Seville,”  was  probably  painted  in 
1670.  It  was  purchased  by  Louis  XVI.  The  Virgin,  in  a robe  and  mantle  of 
blue,  is  seated  in  the  centre,  holding  on  her  knees  the  Child,  whom  she  presents  to  the 
adoring  gaze  ol  St.  Elizabeth  and  of  the  youthful  St.  John,  who  offers  a reed  cross  to 
the  infant  Jesus.  In  the  open  heavens  are  seen  God  the  Father,  and  the  Holy  Spirit 
descending  as  a dove,  surrounded  by  cherubs. 

“VIRGIN  AND  CHILD”  [DETAIL]  PITTI  PALACE:  FLORENCE 

“TJ7  VERY  great  painter,”  says  Gautier,  “ has  depicted  his  own  type  of  the  Madonna, 
JHy  in  which  he  incarnates  his  especial  dream  of  beauty.  As  Murillo  has  represented 
her,  the  Virgin  is  a pretty  Andalusian  girl,  no  doubt  idealized,  but  whose  prototype 
one  may  still  see  among  the  models  at  the  Christina,  or  on  the  Promenade  del  Duque; 
and  in  saying  this  I have  no  thought  of  a reproach,  for  nothing  can  be  more  charming 
than  the  woman  of  Seville,  with  her  great  eyes  full  of  light  and  her  fresh  coloring  and 
vermilion  lips. 

“The  child  Jesus  is  treated  by  Murillo  with  a sort  of  caressing  adoration.  In  paint- 
ing him  he  seems  to  have  found  tones  which  do  not  belong  to  our  earthly  planet.  Yet 
through  all  the  graces,  all  the  smiles,  all  the  naive  ways  of  infancy,  there  is  still  to  be 
felt  a touch  of  the  divine.” 


u r i n 0 


31 


“THE  BIRTH  OF  THE  VIRGIN”  LOUVRE:  PARIS 

The  birth  of  the  virgin”  was  painted  by  Murillo  in  his  calido 
manner  about  1655,  for  the  Cathedral  of  Seville.  Paul  Lefort,  who  considers 
it  the  most  beautiful  Murillo  in  the  Louvre,  writes:  “It  is  a most  admirable  achieve- 
ment in  coloring.  The  general  tone  is  based  upon  strong  reds,  deep  in  the  shadows, 
which  become  more  and  more  orange  as  they  approach  the  light,  till,  drowned  and 
overpowered  toward  the  centre  and  upper  parts  of  the  picture  by  the  vaporous  light, 
they  fade  into  the  most  delicate  and  flower-like  tones  of  lilac,  violet,  pale  pink,  carmine, 
and  tender  green,  producing  a wonderful  effect,  which  at  once  recalls  that  other  marvel 
of  color  wherein  the  reds  play  so  powerful  a part,  ‘The  Tapestry  Weavers’  by 
Velasquez.” 

The  subject  of  the  picture  is  as  charming  as  its  color.  “In  the  centre  of  the  com- 
position,” says  Gautier,  “like  a bouquet  of  flowers  lighted  by  a ray  of  the  sun,  the 
baby  Virgin  swims,  as  it  were,  in  a cloud  of  light.  An  old  woman,  the  tia  as  the  Span- 
ish call  her,  raises  the  child  from  its  cradle  with  a caressing  gesture.  In  the  foreground 
a girl,  clad  in  a lilac,  tender  green  and  straw'-colored  robe,  leans  forward  curiously, 
leaning  on  a beautiful  white  arm,  satin-like  in  texture  and  dimpled  at  the  rosy  elbow. 
But  the  most  marvellous  figure  in  this  group  is  the  young  angel,  modelled,  as  it  seems, 
from  nothing, — a rose-colored  vapor  touched  with  silver.  She  leans  her  adorable  head 
— made  with  three  brief  brush  strokes — ^over  the  Virgin,  resting  one  delicate  hand  on 
her  breast,  the  fingers  nestling  among  the  folds  of  her  dress  as  if  in  the  petals  of  a flower. 
Above  the  cradle  of  the  Virgin  a hovering  glory  of  child  angels  illumines  the  room  like 
a glowing  smoke.  Half  hidden  in  the  shadow  of  the  background  the  bed  of  the  mother 
may  be  vaguely  distinguished.  It  is  impossible  to  imagine  anything  more  fresh,  more 
tender,  more  lovely,  than  this  picture.” 

It  is  probably  of  this  work,  which  formerly  hung  in  the  Seville  Cathedral,  that  Ford 
relates  the  following  anecdote:  “ On  Marshal  Soult’s  arrival  in  Seville  this  picture  w'as 
hidden  by  the  chapter.  A traitor  informed  him  of  its  concealment  and  he  sent  to  beg 
it  as  a present,  hinting  that  if  refused  he  would  take  it  by  force.  Some  years  after, 
in  Paris,  the  worthy  Marshal  was  showing  Colonel  Gurwood  his  collection,  and  stop- 
ping opposite  a Murillo,  said,  ‘ I very  much  value  that  specimen.  It  saved  the  lives 
of  two  estimable  persons.  ’ An  aide-de-camp  who  was  standing  by  whispered,  ‘ He 
threatened  to  have  both  of  them  shot  on  the  spot  unless  they  gave  up  the  picture.’  ” 

“THE  DIVINE  SHEPHERD”  THE  PRADO:  MADRID 

PAINTED  probably  about  the  year  1670,  this  picture  shows  the  transition  from 
Murillo’s  second,  or  calido,  manner  to  his  third,  or  vaporoso.  It  represents  the 
child  Jesus  clad  in  a red  tunic  and  sheepskin  garment,  seated  on  a terrace.  His  left  hand 
rests  on  the  back  of  a sheep,  while  in  his  right  he  holds  a crook.  “ Murillo,”  w'rites 
Curtis,  “is  supposed  to  have  been  indebted  for  this  design  to  an  engraving  of  Cupid 
by  Della- Bella,  which  is  to  be  found  in  an  edition  of  the  Meta?norphoses  of  Ovid.” 

“ST.  ANTHONY  OF  PADUA  AND  THE  C H R I S T - C H I L D ” BERLIN  GALLERY 

IN  this  picture,  one  of  the  most  celebrated  of  Murillo’s  works,  St.  Anthony  of  Padua, 
kneeling,  holds  in  his  arms  the  infant  Jesus,  who  lovingly  caresses  the  face  of  the 
saint.  An  opening  in  the  heavens  above  reveals  a group  ol  cherubs  in  an  atmosphere 
of  glowing  light,  while  on  the  ground  are  seen  two  more,  one  with  an  open  book  and 
the  other  holding  lilies,  — • attributes  of  St.  Anthony  of  Padua.  The  picture,  according 
to  Curtis,  is  probably  the  one  taken  in  1810  from  a convent  in  Seville  by  Marshal  Soult, 
with  the  assistance  of  a troop  of  infantry. 


32 


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“ST.  ELIZABETH  OF  HUNGARY  HEALING  THE  SICK  ” ROYAL  ACADEMY  OF  FINE  ARTS:  MADRID 

OF  the  eleven  remarkable  pictures  which  Murillo  painted  when  at  the  height  oi  his 
power,  between  1671  and  1674,  for  the  Hospital  of  La  Caridad  in  Seville,  the 
“ St.  Elizabeth  of  Hungary  ” ( El  Tinoso),  now  in  the  Royal  Academy  of  Fine  Arts  in 
Madrid,  is  considered  the  finest.  “Whoever  has  not  seen  it,”  says  Justi,  “does  not 
know  what  Spanish  painting  really  is.” 

St.  Elizabeth  was  a sovereign  princess  of  Hungary  in  the  fourteenth  century,  whose 
life  was  consecrated  to  religion  and  charity.  She  maintained  a daily  table  for  nine  hun- 
dred poor,  and  an  hospital  where,  in  spite  of  the  scorn  and  murmurs  of  her  ladies,  she 
personally  performed  the  duties  of  sick  nurse.  “ In  his  picture  of  St.  Elizabeth  of  Hun- 
gary,” writes  Theophile  Gautier,  “ Murillo  takes  us  into  the  most  thoroughgoing  real- 
ity. Instead  of  angels  we  were  here  shown  lepers;  but  Christian  art,  like  Christian  char- 
ity, feels  no  disgust  at  such  a spectacle.  Everything  which  it  touches  becomes  pure, 
elevated,  and  ennobled,  and  from  this  revolting  theme  Murillo  has  created  a master- 
piece. The  pious  queen  has  her  head  enveloped  by  a sort  ot  white  veil  which  frames 
the  pure  oval  of  her  face,  and  on  this  half-monastic  veil  there  shines  a light  crown 
which  marks  her  as  a queen,  and  which  radiates  like  an  aureola  and  marks  her  as  a 
saint.  She  stands  at  the  entrance  of  the  palace  receiving  her  clients,  the  poor,  the  sick, 
and  the  infirm.  A large  silver  basin  filled  with  water  is  set  upon  a stool,  over  which 
bends  a poor  child  (el  tinoso)  and  presents  his  diseased  head  to  the  white  hands  of 
the  royal  saint.  Two  young  girls  accompany  their  lady,  and  assist  her  in  the  menial 
occupation.  One  of  them  holds  a salver  on  which  are  bandages  and  flagons  of  ointment, 
while  the  other  holds  a pitcher  to  refill  a silver  basin.  Nothing  is  too  beautiful  for  the 
service  of  the  poor.  Upon  the  first  step  of  the  terrace  sits  an  old  woman  in  rags,  whose 
sharp  profile  stands  out  boldly  against  the  violet  velvet  of  the  queen’s  robe.  In  the  fore- 
ground, near  the  line  of  the  frame,  a beggar  is  wrapping  a bandage  around  his  leg,  while 
behind  a cripple  hurries  forward  upon  his  crutches.  In  the  background,  and  through  a 
piece  of  architecture  which  recalls  Veronese,  may  be  seen  the  queen  again,  accompanied 
by  her  women  feeding  the  hungary  poor.” 

“This  picture,”  writes  Professor  Hoppin,  “unites  the  excellences  of  Murillo’s 
three  styles,  more  especially  the  frio  and  calido,  with  fine  effects  of  atmosphere  and  of 
the  management  of  light.  The  faultlessness  of  the  drawing,  the  luminous  shadows, 
the  treatment  of  light,  the  inimitable  skill  in  the  disposition  of  different  groups,  exhibit  a 
mastery  of  technique  as  well  as  of  coloring.” 

“Murillo’s  ‘St.  Elizabeth  of  Hungary,’  ” writes  Paul  Lefort,  “may  be  studied  as 
one  of  the  best  manifestations  of  the  characteristics  and  tendencies  of  the  Spanish  school, 
— a sublimity  in  conception,  linked  to  the  most  audacious  naturalism  in  form;  qualities 
and  defects  which  seem  the  essence  and  originality  of  Spanish  genius.” 

“THE  M E L O N - E A T E R s ” MUNICH  GALLERY 

NO  example  of  Murillo’s  celebrated  beggar  boys,  upon  which  so  large  a portion 
of  his  fame  rests,  is  now  to  be  found  in  any  public  gallery  of  Spain.  The  one  here 
reproduced  was  acquired  by  the  Munich  Gallerv  in  1802. 

“As  a painter  of  children,”  says  Stirling,  “ Murillo  is  the  Titian  or  Rubens  of  Spain. 
He  appears  to  have  studied  them  with  peculiar  delight,  noting  their  ways  and  their 
graces  in  the  unconscious  models  so  abundantly  supplied  by  the  jocund  poverty  of  An- 
dalusia. Amongst  the  bright-eyed,  nut-brown  boys  and  girls  of  the  Feria,  he  found 
subjects  far  better  fitted  for  his  canvas  than  the  pale  Infants  and  Infantas  who  engrossed 
the  accurate  pencil  of  Velasquez.  ” 


u r i 1 1 0 


33 


“THE  CHILDREN  OF  THE  SHELL”  THE  PRADO;  MADRID 

The  children  of  the  shell”  (Los  Ninos  de  la  Concha),  called 

by  Professor  Hoppin  “the  most  beautiful  picture  of  children  in  the  world,  in 
which  childlike  loveliness  can  no  farther  go,”  represents  the  child  Jesus  giving  the  young 
St.  John — “a  girdle  of  skins  about  his  loins,”  and  bearing  the  bannered  cross  of  his 
mission  — water  to  drink  from  a shell;  while  through  the  opening  skies,  angels  look 
down  upon  the  charming  scene  in  rejoicing  sympathy.  This  picture  is  an  excellent  ex- 
ample of  Murillo’s  vaporoso  manner.  Over  the  whole  is  spread  the  seeming  veil  of  an 
unseen  mist, — a warm,  transparent  haze,  impalpable  and  dreamy,  which  tones  the 
splendor  of  the  setting  sun  that  lights  the  picture  into  a glowing  harmony. 

“THE  IMMACULATE  CONCEPTION”  LOUVRE:  PARIS 

ONE  of  three  works  painted  by  Murillo  in  1678  for  the  Hospital  de  los  Venerables, 
in  Seville,  this  picture  was  among  those  taken  from  Spain  by  Marshal  Souk,  and 
at  the  Souk  sale,  in  1852,  was  acquired  by  the  French  government  for  586,000  francs, 
a higher  price  than  had  at  that  time  ever  been  realized  by  a work  of  art. 

The  dogma  of  the  Immaculate  Conception  was  a favorite  one  in  the  Spanish  Church, 
and  Murillo,  with  whom  it  was  a favorite  subject  (he  represented  it  some  twenty  times), 
became  known  as  “the  painter  of  the  Conception.” 

“For  the  treatment  of  this  important  subject,”  says  Stirling,  “the  directions  of 
Pacheco  (the  Inspector-General  of  Sacred  Pictures  to  the  Inquisition)  are  very  full  and 
precise.  The  idea  is  borrowed  from  the  vision  in  the  Apocalypse,  of  the  wondrous 
woman  clothed  with  the  sun  and  with  the  moon  under  her  feet,  and  having  upon  her 
head  a crown  of  twelve  stars.  ‘In  this  gracefullest  of  mysteries,’  says  Pacheco,  ‘Our 
Lady  is  to  be  painted  in  the  flower  of  her  age,  with  all  the  beauty  that  a human  pencil 
can  express.’  Her  eyes  are  to  be  turned  to  heaven,  and  her  arms  meekly  folded. 
The  mantling  sun  is  to  be  expressed  by  bright  golden  light  behind  the  figure;  the  ped- 
estal moon  is  to  be  a crescent  with  downward-pointing  horns;  and  the  twelve  stars  are 
to  form  a diadem  like  a celestial  crown  in  heraldry.  The  robe  of  the  Virgin,  of  course 
covering  her  feet  with  decent  folds,  must  be  white,  and  her  mantle  blue;  and  round 
her  waist  is  tied  the  cord  of  St.  Francis,  because  in  this  guise  she  appeared  to  Beatriz 
de  Silva,  a noble  nun  of  Portugal.  About  her  are  to  hover  cherubs,  bearing  emblematic 
boughs  and  flowers;  the  upper  glory  is  to  reveal  the  forms  of  the  Eternal  Father  and 
the  mystic  dove;  and  in  the  clouds  beneath  the  moon,  the  bruised  head  of  the  great 
red  dragon.  These  last  accessions,  however,  Pacheco  does  not  absolutely  require;  and 
he  is  especially  willing  to  forgive  the  omission  of  the  dragon,  ‘ which,  indeed,’  says  he, 
‘ no  man  ever  painted  with  good  will.  ’ 

“Murillo  is  by  no  means  exact  in  his  adherence  to  the  letter  of  Pacheco’s  laws. 
The  attitude  of  the  figure  and  the  colors  of  the  drapery  are  the  sole  points  in  which  he 
exhibits  habitual  obedience.  The  horns  of  his  moon  generally  point  upwards;  he  usually 
omits  the  starry  crown;  and  in  spite  of  his  predilection  for  the  Capuchin  order,  he  com- 
monly dispenses  with  the  girdling  cord  of  St.  Francis.  His  Virgin  is  sometimes  a fair 
child  with  golden  locks,  gazing  to  heaven  with  looks  of  wondering  adoration;  some- 
times a dark-haired  woman,  on  whose  mature  beauty  the  sun  has  looked,  bending  her 
eyes  in  benign  pity  on  this  sublunar  sphere.  . . . 

“ The  celestial  attendants  of  the  Virgins  of  Murillo  are  amongst  the  loveliest  cherubs 
that  ever  bloomed  on  canvas.  He  permitted  no  difficulty  of  attitude  or  foreshortening 
to  deter  his  facile  and  triumphant  pencil.  Hovering  in  the  sunny  air,  reposing  on  clouds, 
or  sporting  amongst  their  silvery  folds,  these  ministering  shapes  give  life  and  movement 
to  the  picture,  and  relieve  the  Virgin’s  statue-like  repose.” 


34 


“THE  VISION  OF  ST.  ANTHONY  OF  PADUA”  SEVILLE  CATHED'RAL 

ST.  ANTHONY  of  Padua  was  a Portuguese  by  birth,  who  for  a time  taught  divin- 
ity at  the  University  ot  Padua;  but  impelled  by  a desire  for  wider  usefulness,  he 
forsook  scholastic  honors,  and,  as  a humble  Franciscan  friar,  went  forth  to  teach  the 
gospel  to  the  poor.  On  one  occasion,  when  expounding  with  wonderful  eloquence  the 
mystery  of  the  Incarnation,  it  is  related  that  he  saw  the  iixfant  Jesus  descend  from 
heaven  and  stand  upon  the  open  Bible  before  him.  This  is  “ The  Vision  of  St.  Anthony 
of  Padua,”  which  Murillo,  with  various  changes  oi  mise  e?i  scene,  so  frequently  chose 
as  a subject.  The  present  version  is  the  largest  painting  he  ever  executed;  and  is  con- 
sidered by  many  critics  as  his  highest  achievement. 

“Never,”  writes  Theophile  Gautier,  “was  the  magic  of  a painter’s  brush  pushed 
further.  I consider  this  picture  better  than  Murillo’s  ‘ St.  Elizabeth  of  Hungary;’  bet- 
ter than  all  his  Virgins  and  holy  children,  pure  and  lovely  as  they  are.  He  who  has  not 
seen  the  ‘St.  Anthony  of  Padua’  has  not  seen  Murillo’s  masterpiece.  The  saint  in 
ecstasy  kneels  in  the  middle  of  his  cell,  all  the  poor  details  of  which  are  depicted  with 
that  Tigorous  realism  which  is  characteristic  of  the  Spanish  school.  The  upper  part  of 
the  picture,  flooded  with  vaporous  light,  is  filled  with  groups  of  angels  of  truly  ideal 
beauty.  Drawn  down  by  the  fervor  of  prayer,  the  infant  Christ,  descending  from  cloud 
to  cloud,  is  about  to  place  himself  between  the  outstretched  arms  of  the  saint.” 

“The  picture,”  writes  Paul  Lefort,  “exhibits  in  a way  that  is  unrivalled  in  any 
period  and  in  any  school  Murillo’s  rare  faculty  of  closely  combining  the  supernatural 
with  natural  beings  and  tangible  objects,  and  of  introducing  celestial  visions  into  the  very 
midst  of  humble  and  familiar  every-day  life.  Under  his  brush  visions,  dreams,  and  mir- 
acles acquire  in  some  way  the  indisputable  authority  of  fact;  and  a golden  legend  be- 
comes history.” 

In  November,  1874,  discovered  by  the  guardians  of  Seville  Cathedral  that 

the  picture  had  been  mutilated  by  cutting  out  the  figure  of  St.  Anthony,  although, 
so  far  as  was  known,  the  curtain  covering  it  had  not  been  withdrawn  during  the  previ- 
ous forty-eight  hours.  The  Spanish  government  immediately  sent  photographs  of  the 
mutilation  to  its  foreign  representatives,  and  instructed  them  to  aid  in  the  search  for  the 
criminal.  In  January,  1875,  ^ Spaniard  who  called  himself  Fernando  Garcia  offered  to 
sell  in  New  York  to  Mr.  Schaus,  a well-known  picture  dealer,  an  authentic  Murillo, 
which  he  said  had  been  in  his  family  for  years.  This  Murillo  proved  to  be  none  other 
than  the  stolen  fragment,  tacked  to  a new  American  stretcher,  and  much  damaged  by 
having  evidently  been  kept  rolled  for  some  time.  Mr.  Schaus  immediately  recognized 
it,  purchased  it  from  Garcia  for  $250,  and  notified  the  Spanish  consul.  Garcia  was 
arrested  but  finally  released,  because  of  insufficient  evidence  of  his  complicitv  in  the 
theft.  The  fragment  was  replaced,  the  injury  as  far  as  possible  repaired,  and  the  pic- 
ture reinstated  in  its  old  place  in  the  Baptistery,  with  public  festivities,  in  October,  1875. 

THE  PRINCIPAL  PAINTINGS  OF  MURILLO,  WITH  THEIR 
PRESENT  LOCATIONS 

ALTHORPE,  Eng.,  Earl  Spencer’s  Collection:  Portrait  of  Murillo  (Page  20)  — 
Aynhoe,  Eng.,  Cartwright  Collection:  Immaculate  Conception;  St.  Anthony 
and  Infant  Jesus;  St.  John  Baptist;  Ecce  Homo;  Mater  Dolorosa;  Tobias  and  the  Angel; 
Abraham  and  Isaac  — Berlin  Gallery:  St.  Anthony  of  Padua  and  the  Christ-child 
(Plate  V)  — Cadiz  Museum:  Ecce  Homo  — Cadiz,  Capuchin  Church:  Immaculate  Con- 
ception; Marriage  of  St.  Catherine;  St.  Francis  of  Assisi  — Cadiz,  Church  of  San  Felipe 
Neri:  Immaculate  Conception  — Chicago,  Art  Institute:  Adoration  of  Shepherds;  Im- 
maculate Conception  — Dresden,  Royal  Gallery:  Virgin  and  Child;  St.  Rodriquez; 


35 


u r i n 0 

Death  of  St.  Clara  — Dulwich  Gallery:  Virgin  and  Child;  Flower  Girl;  Two  Peasant 
Boys;  Three  Peasant  Boys  — Florence,  Pitti  Palace:  Virgin  and  Child  (Plate  ii); 
Virgin  and  Child  with  Rosary  — The  Hague,  Museum:  Virgin  and  Child  — London, 
National  Gallery:  Holy  Family;  St.  John  and  the  Lamb;  Peasant  Boy;  Boy 
Drinking — London,  Wallace  Collection:  Annunciation;  Assumption;  Virgin  and 
Child  with  Rosary;  Virgin  and  Child  {bis)',  Holy  Family;  St.  Thomas  of  Villanueva;  Vir- 
gin, Child,  and  Saints;  Virgin,  Child,  and  St.  Rosalie;  Adoration  of  Shepherds;  Marriage 
of  the  Virgin;  Joseph  and  his  Brethren — London,  Stafford  House:  Abraham  and 
Angels;  St.  Anthony  and  Infant  Jesus;  St.  Justa;  St.  Rufina;  Archbishop  Ambrosio 
Ignacio  Spinola;  Prodigal  Son’s  Return;  A Girl — London,  Lord  Overstone’s  Collec- 
tion: Immaculate  Conception;  Holy  Family;  Three  Pictures  of  Virgin  and  Child;  Ecce 
Homo  — London,  Earl  Dudley’s  Collection  : St.  John;  St.  Anthony  and  Infant  Jesus; 
Five  Scenes  from  Life  of  Prodigal  Son;  St.  Justa;  Old  Woman  and  Boy — London, 
Grosvenor  House:  Infant  Jesus  Asleep;  St.  John;  Meeting  of  Jacob  and  Laban  — 
London,  E.arl  of  Northbrook’s  Collection:  Assumption;  Immaculate  Conception; 
Holy  Family;  Repose  in  Egypt;  St.  Thomas  of  Villanueva;  Peasant  Boy;  Sleeping 
Infant;  Portrait  of  Don  Andres  de  Andradae — -Madrid,  The  Prado:  Annunciation  {bis)-, 
Three  Pictures  of  Immaculate  Conception;  Adoration  of  Shepherds;  Holy  Family;  Educa- 
tion of  the  Virgin;  Infant  Jesus  Asleep;  The  Divine  Shepherd  (Plate  iv);  Christ  on  the  Cross 
{bis)-,  Eive  Sketches  for  Pictures  of  Prodigal  Son;  Virgin  and  Child  {bis)-.  Children  of  the 
Shell  (Plate  viii);  St.  John  and  the  Lamb;  Ecce  Homo;  Mater  Dolorosa;  Head  of  John  the 
Baptist;  Head  of  St.  Paul;  Conversion  of  St.  Paul;  St.  Augustine;  Martyrdom  of  St.  An- 
drew; Vision  of  St.  Bernard;  San  Fernando;  St.  Francis  of  Assisi;  Three  Pictures  of  St. 
Francis  de  Paul;  St.  James;  St.  Jerome  {bis)-,  St.  Ildefonso;  Father  Cavanillas;  Mary  Mag- 
dalen; Rebekah  and  Eliezar;  Two  Landscapes;  Peasant  Girl;  Old  Woman  Spinning — 
Madrid,  Royal  Academy  of  Fine  Arts:  St.  Elizabeth  of  Hungary  Healing  the  Sick; 
(Plate  vi);  Dream  of  the  Roman  Senator;  Roman  Senator  Relating  his  Dream;  Virgin 
and  Child;  Resurrection;  Mary  Magdalen;  St.  Francis  of  Assisi;  St.  Diego  Blessing  a 
Pot  of  Soup — Munich  Gallery:  Melon-eaters  (Plate  vii);  Two  Peasant  Girls;  Boys 
Playing  Dice;  Old  Woman  and  Boy;  St.  Francis  of  Assisi  (.?) — New  York:  Metro- 
politan Museum:  Magdalen  — New  York,  Owned  by  C.  B.  Curtis,  Esg.,  St.  Diego 
Surprised  by  the  Guardian  — Orwell  Park,  Eng.,  Owned  by  George  Tomline, 
Esq.:  The  Pool  of  Bethesda;  St.  Joseph  and  Infant  Jesus;  St.  Augustine — Paris, 
Louvre:  Birth  of  the  Virgin  (Plate  iii);  Immaculate  Conception  (Plate  ix);  Immaculate 
Conception  {bis)-.  Virgin  and  Child;  Holy  Family  (Plate  i);  Angels’  Kitchen;  Peasant  Boy; 
Duke  of  Osufia;  Don  Francisco  de  Quevedo  Villegas  — Paris,  Owned  by  Baron  Seil- 
LiERE:  Portrait  of  Murillo  — Richmond  Hill,  Eng.,  Owned  by  Francis  Cook,  Esq.: 
The  Virgin;  Ecce  Homo;  Christ  after  Flagellation;  Christ  on  the  Cross;  St.  Francis  of 
Assisi;  St.  Joseph  and  Infant  Jesus;  St.  Peter;  St.  Bonaventura;  Landscape;  Portrait  of 
Murillo  — Rome,  Corsini  Palace:  Virgin  and  Child  — Rome,  Vatican:  Adoration  of 
Shepherds;  St.  Peter  Arbuez;  Marriage  of  St.  Catherine — Seville,  Museum:  Annuncia- 
tion; Four  Pictures  of  Immaculate  Conception;  Adoration  of  Shepherds;  Three  Pictures 
of  the  Virgin  and  Child;  St.  Thomas  of  Villanueva;  St.  Joseph  and  Infant  Jesus;  Pieta; 
John  the  Baptist;  St.  Francis  of  Assisi;  St.  Augustine  {bis)-,  St.  Anthony  of  Padua  and 
Infant  Jesus  {bis)-,  St.  Peter  Nolasco;  St.  Felix  {bis)-,  St.  Leandro  and  St.  Bonaventura; 
St.  Justa  and  St.  Rufina — Seville  Cathedral:  Vision  of  St.  Anthony  of  Padua 
(Plate  x);  Immaculate  Conception;  Baptism  of  Christ;  The  Guardian  Angel;  St.  Pius; 
St.  Isadoro  {bis)-,  St.  Justa;  St.  Rufina;  St.  Ferdinand  {bis)-,  St.  Laureano;  St.  Leandor 
{bis)-,  St.  Hermengild;  Madre  Francisca  Dorotea  Villalda  — Seville,  Hospital  of  La 
Caridad:  Moses  Striking  the  Rock;  Miracle  of  Loaves  and  Fishes;  St.  John  and  the 
Lamb;  Annunciation;  Infant  Saviour;  San  Juan  de  Dios  — St.  Petersburg,  Hermi- 
tage: Annunciation;  Assumption;  Immaculate  Conception;  Adoration  of  the  Shepherds; 
Holy  Family;  Crucifixion;  St.  Joseph  and  Infant  Jesus  {bis)-,  St.  Anthony  of  Padua  and 
Infant  Jesus;  Jacob’s  Dream;  Isaac  Blessing  Jacob;  St.  Peter  in  Prison;  St.  Peter  Arbuez; 
Peasant  Boy  {bis)-.  Flight  into  Egypt;  Repose  in  Egypt;  Peasant  Girl — Valladolid, 
Museum:  St.  Joachim  and  the  Virgin — Vienna,  Imperial  Gallery:  St.  John  and 
the  Lamb. 


in  ^rt 


3 6 


iHuriUo  33it)Uograpi)j 

A LIST  OF  THE  PRINCIPAL  BOOKS  AND  MAGAZINE  ARTICLES 
DEALING  WITH  MURILLO  AND  HIS  SCHOOL 

Alfonso,  L.  Murillo.  (Barcelona,  1886) • — Amador  de  los  Rios.  Sevilla  Pintor- 
esca,  etc.  (Seville,  1844)  — Aulnoy,  La  Comtesse  d’.  La  cour  et  la  ville  de  Madrid. 
(Paris,  1874) — Baxley,  H.  W.  Spain:  Art  Remains  and  Art  Realities.  (London,  1875) 
— Bermudez,  C.  Diccionario  historico.  (Madrid,  1800)  — Blanc,  C.,  and  others. 
Histoire  des  Peintres.  (Paris)  — Cumberland,  R.  Anecdotes  of  Eminent  Painters  in  Spain. 
(London,  1787)^ — Cunningham,  A.  Life  of  Sir  David  Wilkie.  (London,  1 843)  — Cur- 
tis, C.  B.  Catalogue  of  the  Works  of  Velazquez  and  Murillo.  (New  York,  1883)  — 
Farfan,  F.  de  la  Torre.  Fiestas  de  la  Sta.  Iglesia  Metropolitana,  etc.  (Seville,  1672) 
- — Fiorillo,  J.  D.  Geschichte  der  zeichnenden  Kiinste,  etc.  (Gottingen,  1798)  — Flat, 
P.  L’art  en  Espagne.  (Paris,  1891)  — Ford,  R.  Handbook  for  Travellers  in  Spain, 
Edition  of  1855.  (London,  1855)  — Gautier,  T.  Guide  de  I’amateur  au  Musee  du 
Louvre.  (Paris,  1882)  — Head,  Sir  E.  Handbook  of  the  History  of  the  Spanish  and 
French  Schools  of  Painting.  (London,  1848)  — Hoppin,  J.  M.  The  Early  Renaissance. 
(Boston,  1892)  — Knackfuss,  H.  Murillo.  (Leipsic,  1897)  — Krell,  P.  F.  Die  Klas- 
siker  der  Malerei.  (Stuttgart,  1878)  — Latour,  A.  de.  Etudes  sur  I’Espagne.  (Paris, 
1855) — Lawson,  E.  K.  Catalogue  of  the  Museo  del  Prado.  (Madrid,  1896). — Lefort, 
P.  La  Peinture  espagnole.  (Paris,  1893) — Lefort,  P.  Murillo  et  ses  eleves.  (Paris, 
1892)  — Lubke,  W.  History  of  Art:  Trans,  by  Clarence  Cook.  (New  York,  1878)  — 
LticKE,  H.  Murillo.  [In  Dohme’s  Kunst  und  Kiinstler.]  (Leipsic,  1880)  — Madrazo, 
Don  Pedro  de.  Catalogo  del  Museo  del  Prado.  (Madrid,  1872)  — Minor,  E.  E.  Mu- 
rillo. (New  York,  1882)  — O’Neil,  A.  Dictionary  of  Spanish  Paintings.  (London, 
1833)  — Pacheco,  F.  El  Arte  de  la  Pintura.  (Seville,  1649)  — Palomino  de  Castro, 
Y Velasco.  El  Museo  Pictorio  y Escala  Optica.  (Madrid,  1715)  — Passavant,  J.  D. 
Die  Christliche  Kunst  in  Spanien.  (Leipsic,  1853)  — PoNZ,  D.  Antonio.  Viage  de 
Espafia,  etc.  (Madrid,  i 772)  — Quilliet,  F.  Dictionnaire  des  peintres  espagnols.  (Paris, 
1816). — Ris,  Le  Comte  Clement  de.  Le  Musee  Royal  de  Madrid.  (Paris,  1859)  — 
Scott,  W.  B.  Murillo  and  the  Spanish  School  of  Painting.  (London,  1873)  — Smith, 
G.  W.  Painting,  Spanish  and  French.  (London,  1884)  — Solvay,  L.  L’Art  esp.agnol. 
(Paris,  1887)  — Stirling,  W.  Annals  of  the  Artists  of  Spain.  (London,  1848)  — 
Stothert,  j.  French  and  Spanish  Painters.  (London,  1877)  — Stromer,  T.  Murillo: 
Leben  und  Werke.  (Berlin,  1879)  — Sweetser,  M.  F.  Murillo.  (Boston,  1877)  — 
Tollemache,  W.  A.  Spanish  Towns  and  Spanish  Pictures.  (London,  1871)  — Tubino, 
Francisco  M.  Murillo,  su  Epoca,  etc.  (Seville,  1864)  — Viardot,  L.  Les  Musees 
d’ Espagne.  (Paris,  1839). 


magazine  articles 

Art  Journal,  vol.  35:  Velazquez  and  Murillo  (P.  Villiers)  — Foreign  Quarterly 
Review,  1834:  Spanish  Painters  (E.  Head)  — Gazette  des  Beaux-Arts,  1875: 
Murillo  et  ses  eleves  (P.  Lefort)  — Harper’s  Monthly  Magazine,  1885:  Original  De- 
sign for  the  Picture  of  St.  Elizabeth  of  Hungary. — New  Englander  Magazine,  18S9: 
Murillo  (J.  M.  Hoppin)  — Quarterly  Review,  1848:  The  Paintings  of  Spain  (R.  Ford) 
— Revue  des  Deux  Mondes,  1861:  Murillo  et  I’Andalousie  (E.  Beule)  — Revue  de 
Paris,  1835:  Etudes  sur  la  peinture  espagnole;  Galerie  de  Marechal  Soult  (T.  Thore) 
— Zeitschrift  fur  Bildende  Kunst,  1890—92:  Murillo  (C.  Justi). 


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meyer,  Paris. 

Corresponde7ice  invited.  Telepho7ie:  Sbo  Fratiklhi. 

I.  P.  FRINK,  551  Pearl  St.,  New  York. 

GEORGE  FRINK  SPENCER,  Manager. 


Owners  ojf  ‘buildings 
A.'Votd  hiabilitjF 

from  damages  caused  by  ice  or  snow 
falling  from  roofs  by  applying 

T!1£  Folsom  New  Model 
Snow  Guard 

TRADE  MARK  je,  This  IS  the  simplest 

and  only  perfect  device 
which  holdssnow  where 
it  falls,  prevents  slides, 
or  the  gathering  of  snow 
and  ice  at  the  eaves, 
which  so  frequently  causes  water  to  back  up 
under  the  shingles  or  slates  and  damage  walls 
and  ceilings.  Folsom  Snow  Guards  are  made 
for  shingle,  slate,  tile,  or  metal  roofs,  both  old 
and  new,  and  are  applied  at  trifling  expense. 
Specified  as  the  standard  snow  guard  by 
architects  everywhere.  Write for  information. 

FOLSOM  SNOW  GUARD  CO. 

105  Beach  Street,  Boston,  Mass. 


European  Travel 

Miss  Weldon  will  take  six  young  ladies 
abroad.  Restricted.  Highest  references.  Ad- 
dress for  Prospectus  of  the  trip 

Miss  WELDON 

“ The  Moorings  ” HOWARD,  PA. 


3iit  IcaDemt  of  Cincinnati 


ENDOWED  for  HIGHER  EDUCATION  in  ART. 
Money  Scholarships.  Year’s  Tuition,  $25.00. 


FRANK  DUVENECK  \ 
THOMAS  S.  NOBLE  f 

V.  NOWOTTNY  > 

L.  H.  MEAKIN  t 

J.  H.  SHARP  ) 

C.  J.  BARNHORN 

W.  H.  FRY 

ANNA  RIIS  For 

CAROLINE  A.  LORD 
HENRIETTA  WILSON 
KATE  R.  MILLER 


For  drawing,  painting, 
composition,  artistic 
anatomy,  etc. 

For  modeling 
For  wood  carving 
design  and  china  painting 

I For  preparatory  drawing, 
I etc. 


35th  year:  September  29th,  1902,  to  May  24th,  1903. 
Write  to  J.  H.  GEST,  Director,  Cincinnati,  Ohio. 


MASTERS  I N ART 


The  Most  Thor- 
oughly Equipped 
System  oi  Rail- 
roods  in  the  World 


Boston.  (SL  Albany  and 
New  Y ork  Central  Lines 


A.  S.  HANSON 

General 

Passenger 

Agent 


BOSTON,  MASS. 


The  Luxury  and  Attendance 
of  the 

Most  Palatial  Home 

cannot  surpass  the  ELEGANT  and  SUPERB  TRAIN  SER- 
VICE furnished  the  tourist  on  the 

THROUGH  COACHES  AND  PULLMAN  PALACE 
CARS  FROM  BOSTON 

New  York,  4 trains  daily. 

Buffalo,  8 trains  daily. 

Cleveland,  6 trains  daily. 

Toledo,  4 trains  daily. 

Columbus,  3 trains  daily. 

Chicago,  5 trains  daily. 

The  Only  St.  Louis,  3 trains  daily. 

“DOUBLE  TRACK  ROUTE” 

from  BOSTON  to 

ALBANY,  BUFFALO,  and  the  WEST. 

Senci  for  “ WEST  BOUND." 

A.  S.  HANSON,  G.P.A. 


ROWNEY’S  ARTISTS’  COLOURS 


(ENGLISH  MANUFACTURE) 

For  Oil  or  Water-Colour 
Painting 


ROWNEY’S 

ROWNEY’S 

COLOURS 

COLOURS 

Are  made  of  the 

Have  been  used 

finest  selected  ma- 

by  the  principal 

terials  obtainable. 

artists  in  England 

and  should  always 

and  France  for 

be  used  for  good 

over  one  hundred 

work. 

years. 

Established  1789 

Established  1789 

FAVOR,  RUHL  & CO. 

^Titiportcrs 

54  Park  Place  NEW  YORK 


MASTERS  IN  ART 


AN  ARTISTIC  PIANOFORT 


^ I E beautii 
lines,  fine  p 
portions,  and  exq 
site  design  distingu 
this  pianoforte  as  1 
aristocrat  of  its  cl 


PURITAN  MODEL 


BRAUN’S 

CARBON 

PRINTS 

FINEST  and 
IMPORTED 

MOST  DURABLE 
WORKS  of  ART 

ONE  HUNDRED  THOUSAND 
direct  reproductions  from  the  original 
paintings  and  drawings  by  old  and  modern 
masters.  ^ Our  world-renowned  publica- 
tions of  the  most  celebrated  masterpieces  by 
Titian  number  300;  by  Holbein,  400 ; 
by  VELAscyjEZ,  150;  by  Rembrandt, 

400  ; etc.,  etc.  ^ Illustrated  extract  from 
our  General  Catalogue  sent  on  application  ; 
price,  50  cents  (free  to  educational  institu- 
tions). ^ Special  terms  to  schools. 

BRAUN,  CLEMENT  & CO. 

249  Fifth  Avenue,  cor.  28th  Street 


VISITORS  to  NEW  YO 

Are  cordially  invited  to  the 

Crjithitton  of  I^aintin 

By  Bouguereau,  Rosa  Bonheur,  Caz' 
Corot,  Daubigny,  Dupre,  Diaz,  Frome 
tin,  Henner,  Jacque,  Meissonier,  Rc 
bet,  Rousseau,  Thaulow,  Troy  on,  Zie 
and  a Collection  of  Portraits  by  the  C 
Masters  of  the  Early  French,  Engli: 
and  Dutch  Schools. 


ART  GALLERIES 
EDWARD  BRAND 


NEW  YORK  CITY 

N o other  branch  house  in  America. 

Special  terms  to  schools,  architects,  and  decorators. 


391  Fifth  Avenue 

Bet.  36th  and  37th  Sts. 

NEW  YORK 


Rue  de  la  P, 
16 

PARIS 


GETTV  center  LIBR^RT 

NO  813  «88  Nlnor.  tUeoE 

c.  1 

ill  ir  M T n 


MMN 


3 3125  00309  3644 


